The following instructions are intended for users who are using the XinematiX App for the first time. It provides an introduction how to use the App.
XinematiX is designed for actual iPads and iPhones. On older models it may not work correctly.
If in doubt just test it, as the XinematiX Start App with the first 4 sounds can be downloaded for free.
The illustrations of this manual are based on the surface of an iPad. On iPhones, the controls are arranged slightly differently.
Maybe you know already how to connect your MIDI device e.g. your keyboard with your iPad or iPhone for sending MIDI data to
the XinematiX App and how to output the audio signals to your headphones or to your speakers.
If not, you will find in the following some useful tips.
Older iPad models and iPhones had two separate sockets, one of them for receiving MIDI data, the other for the output of audio signals. The latter was a 3.5 mm socket for accommodating an appropriate plug. The socket for receiving MIDI data had different forms and sizes. In this way one has or had to connect two different cables with matching plugs between keyboard and iPad/ iPhone respectively between iPad/ iPhone and headphone or speakers.
At the actual iPad and iPhones Apple has deleted a separate audio output socket. There exists only one single USB C socket, being responsible for receiving either MIDI data or(!) sending audio signals. It seems that nobody of the responsible Apple developers considered that it should be possible to support both a the same time: data input and audio output.
Fortunately, there exist tools to overcome this problem. See the following three typical examples.
The first one is an easy-to-use USB-C hub from Satechi. See the figure on the left, which is self-explanatory. There exist also other companies producing such hubs, e.g. RREAKA or GIISMO.
Alternately it is possible to send MIDI Data from your iPad or iPhone via Bluetooth. This Yamaha Bluetooth Hub requires an additional power adapter. The picture at the left shows how to connect the different elements. The disadvantage of this tool is that you have to renew the Bluetooth connection every time you restart it.
Another Bluetooth adapter is the CME WIDI Master. It is designed for the connection with a 5pol DIN socket. This tool requires no
additional power adapter.
The main element sends MIDI Data via Bluetooth. The side element is not necessary for a Bluetooth transmission, it is designed for an alternate direct connection with another 5pol DIN socket.
For a Bluetooth connection, please set Bluetooth to 'On' in the iPad or iPhone settings as well as in the XinematiX settings.
After you downloaded
XinematiX from the App Store, the app will open its main user interface.
The start app presents in default three different free sounds. A fourth is stored in reserve.
In default XinematiX supports all ('Omni') MIDI Channels. You can change this setting for controlling XinematiX by only one MIDI channel. This may be necessary if you want to control different apps from the same MIDI device. e.g. from your keyboard. But please note: It is not possible to control XinematiX by two or more different MIDI channels.
Change this setting if necessary to one specific MIDI channel as described in: Fundamental Settings/ MIDI input
If you tap on the question mark symbol in the top right-hand corner, a brief overview of the
XinematiX functions is displayed by notes in yellow fields.
Delete these notes by tapping on the question mark symbol again.
In the following sections, the various functions are described in more detail.
XinematiX contains four free sounds in its basic configuration. Three of them are immediately
visible on the start screen, one is available in reserve. Additional sound packages can be downloaded
and inserted as so-called inApps.
To help you decide which sound packages to purchase, you can try each of them for free for 7 days. For tests or purchases, proceed as follows:
Tap on the tool symbol in the shape of a cogwheel (1). A pop-up window named 'settings' opens.
Tap on the entry 'Sample Store' (2).
A new pop up window named 'Sample Store' opens (3). Here you will find all inApps listed. You will find these displayed differently depending on whether you have already purchased them, are currently testing them, or have not yet dealt with them.
Those already purchased are shown with green text with a green text-free bar to the right.
Those not yet tested or purchased are represented by a brown bar with the text 'try demo'. As soon as you tap on this bar, its color changes to green and shows the amount of remaining test days. After 7 days, the bar goes out, after which a free test is no longer possible.
To purchase an inApp, tap its name on the left, shown here with the example of 'Airy Pads'. This will take you to the App Store where you can purchase this inApp in the usual way.
The purchased library is then shown with the supplementary text 'Puchased/ Tap to download'. Tap on this text to download the inApp (4).
After the download the purchased inApp is displayed with green text and green bar (5).
You can control the sounds of XinematiX by two different settings:
The 'Layer' mode or alternatively the 'Crossfade' mode.
The difference between both modes is that you can either mix all three sounds present in the current combination (also called a 'Multi') or crossfade between only two sounds.
To the right above the centre of the main screen you will find either three continuous lines, which means that the system is in 'Layer' mode or a single broken line, which means that the system is in 'Crossfade' mode.
Tap this line symbol to switch between both modes. See the illustration on the left.
See the following section for more details.
First of all, familiarise yourself with the circular slider in the multi-coloured arc at the top.
The slider can be moved from left to right and vice versa for changing the sound selection.
You can move this slider with your fingers on the screen. However, it is easier to do this with the modwheel of your keyboard as in default the modwheel is designed for controlling this circular slider. If you would like to control the slider by a different tool then please read below at Assign alternative MIDI controllers.
In the layer mode the circular slider on position 1 will play only the red sound.
The slider positions 2 and 3 add slidingly the green sound, followed by the blue sound at the positions 4 and 5, so that in the end all three sounds will sound together.
The crossfade mode controls a little differently.
Position 1 again plays only the red sound, position 2 plays a mix of the red and the green sound, position 3 presents only the green sound.
Position 4 plays a mix of the green and the blue sound and position 5 presents only the blue sound.
Performing a mix with only the left positioned red sound in combination with the right positioned
blue sound takes a little preparation.
Tap on the green sound (1) so that the directory of instrumental groups opens. In this directory tap on any group, e.g. 'Choir Strings & More' (2), this opens a list of its specific instruments. Now tap on 'no sound' (3) and confirm with 'Done' (4).
From now on the playback will only transition from the red to the blue sound and vice versa.
In addition to what is shown here, the use of an MPE (MIDI Polyphonic Expression) compatible keyboard like the Osmose Synthesizer offers the possibility to mix the three called sounds differently for each note. See Osmose Settings
A XinematiX 'Multi' is a combination of sounds, saved by a typical name. Depending on the amount of sounds
which you downloaded with inApps you can create new Multis. Proceed as follows:
Tap on the left red actual instrument name (1). A pop up window opens, showing the actual sound directory. If you want to access another sound directory, tap the name KARO at the top (2). In the instrument group directory that now opens, tap on the name of the desired instrument group (3).
In the sound directory that now opens, tap on the name of the desired instrument (4) and then on 'Done' (5). The pop up window closes.
Edit the green and the blue instrument in the same way.
Now tap on the previous Multi name in the centre at the bottom (6). It may be that there is no name listed at the moment. However, that does not matter. A new pop up window opens, showing the names of the actual saved Multis. Tap on 'Save...' (7). A new pop up window opens. Type into the white field the new Multi name (8). Tap 'Done' to finish (9).
Replacing sounds in an existing Multi is done in the same way as described above. You only have to maintain the previous Multi name when saving it.
This is described below. See: Calling up existing Multis.
For quick tests or while working actually with no real MIDI keyboard or other MIDI devices
you can use the XinematiX on-screen virtual keyboard. It provides in principle
the full range of 88 keys of a regular piano. For better handling, however,
it shows in default only a section of 3 octaves.
How to edit the widening to 4 or more octaves is described at Special keyboard settings.
How to enlarge it or to move the octave positions to the left or right is described below.
Simply tap on the virtual keys to trigger notes on the currently selected sounds.
The keys will lit up and they also will lit up when the concerned notes are triggered on your
MIDI device. So you may also use the on-screen keyboard as
visual indication to control whether your external MIDI device is configured correctly.
The following two images show the virtual keyboard of an iPad. In the default setting, the row of keys is visible as a narrow band.
If you want to enlarge the keys for easier operation, tap the blue arrow pointing upwards. Tapping on the blue arrow pointing downwards will reduce the keys to their default size.
In contrast to the iPads, in iPhones the virtual keyboard is not visible in the default setting. Make it visible by tapping the blue upward pointing arrow and make it disappear by tapping the downward pointing arrow.
For both, iPads and iPhones, the on-screen keyboard presents in default the octaves 3, 4 and 5. If you want to play in a lower area, change the octave position by tapping the blue arrow on the left. Conversely, a tap on the blue arrow on the right leads to higher octaves. Each tap leads to one octave lower or higher.
All sounds are edited very carefully, nevertheless you may want to modify one or the other according to your personal taste. For this purpose some rotary controllers are available whose function are described in the following.
To modify the red sound, first tap in the red area of the multicolored arc.
This will display the rotary controllers in color red as illustrated here.
Tapping in the green area will call green colored rotary controllers for modifying the green sound, tapping in the blue area will call blue colored rotary controls for modifying the blue sound.
The rotary controllers have the following functions:
Offset: Controls the start point of a sound.
Attack: Controls the start phase of a sound. A small value keeps it distinct, a high value makes it start smoother.
Release: Controls the fading out of a tone. A small value keeps it short, a high value lets it fade out longer.
Level: Controls the volume of a sound.
Panning: Shifts the audible sound position to the right or left.
Reverb: Makes the reverb sound shorter or longer.
In addition, different room types can be selected for the reverb. See the following figure.
To select a new reverb type, first tap on the currently shown reverb name (1). A directory of room types opens. Tapping on one of these types (2) opens a list of the associated rooms. Select the desired room (3) and tap on 'Save' (4).
A tap on the 'Shift' button calls up more controllers.
Their functions are from left to right:
Off/db: Controls a low pass filter.
Cutoff: Determines where the signal is cut off.
Resonance: Boosts the frequencies of the cutoff frequencies.
Transpose: Retunes the selected sound in semitone steps. We don't recommend this for a single red, green or blue sound, as a transpose function should transpose all sounds equally. Use for this aim the white controller instead, see what is described below by 'Modifying the sounds uniformly'.
Pitch: With the help of this control you can detune the sound. During the change of the pitch a number below the controler shows the detune factor in white as Cent value. (A tempered semitone comprises 100 Cent). Please handle this function carefully as all XinematiX sounds already dynamically move the pitch up and down by about +/-2 cents. A higher retuning value can cause negative effects.
A tap on the WHITE text right of the controller circles turns them to color white. This means that all controllers now access all called sounds (the red, the green and the blue one). But caution! The white values are added to the previously edited individual values. For the transpose function, the white controller is ideal. While editing Transpose, the retuning steps are displayed as semitone values. Quit the white controllers by tapping again on 'WHITE'.
If you want to assign other external controllers to certain elements, namely the slider
of the multi-colored arc or the six circular controllers, proceed as follows:
(1)Tap the desired item for several seconds.
(2) A pop-up window opens, showing the currently used controller. Tap its name.
(3) A list with suggestions for a new controller opens. If the desired one is there, select it by tapping on its name and then on 'Done'.
(4) If the desired item is not included in the list, tap 'forget' and then (5) 'start listening'.
(6) Now the listening starts. The first controller you move on your MIDI device will be taken over as the new responsible controller.
Back to: The two alternative performance settings
On the right above the virtual keys is a horizontal blue bar. With this you can set the velocity response. In the left short position, the volume changes only slightly in relation to the velocity. In the middle position, the volume increases normally and in the right long position, the volume changes very much to the velocity.
Tapping on the circle in the middle of user interface (image 1) opens an important and interesting tool.
Firstly you will find (image 2) a tool in the upper half of the circle that you are surely familiar with:
Modifying the general pitch by 'Mastertune'. The actual standard is a'= 440 Hz.
However, as it may happen that you have to play together with a higher or lower tuned instrument, you
have the possibility to adapt here. Moving the slider clockwise increases the general pitch, moving it
counterclockwise deepens it. The result obtained will be displayed as the frequency for the a'.
The tool in the lower half of the circle is much more interesting. You should know that the prevailing tuning on classical keyboard instruments is not an ideal, but a compromise in order to be able to make music in all keys. Unfortunately, in these so-called equal- or near-equal-temperaments, the thirds are badly out of tune. Therefore especially all major triads sound sharp and restless. Against this, well educated musicians in ensembles with string and/or wind instruments as well as singers in chamber choirs are trained to shadow the pitch of the performed tones upwards or downwards according their function in the current harmonic environment. In this way they perform purely tuned thirds and fifths. In musicology this is called 'just intonation'.
Hermode Tuning imitates this dynamic just intonation. In this way it produces a rich original sound in all multivoiced music of string and wind instruments and of choirs. Also music of pianos and pipe organs sounds clearer and more voluminous.
The images 3 and 4 show the different setting options of Hermode Tuning. Image 3 shows how to set the tuning of fifhts ad thirds to just intonation. You can select the maximum of 100% and alternately reduced values of 80, 60, 40 and 20% or 0%. The last value is the traditional equal temperament. Image 4 shows how to control additionally to so-called 'natural sevenths', this means the sevenths of dominant seventh chords (e.g. the F in G-B(H)-D-F). Played on their own, these chords sound very strong. But since the natural seventh is tuned very low, it can lead to audible retuning in some musical situations, for instance when playing legato A-C-F to G-B(H)-D-F.
The following settings of Hermode Tuning are recommended:
Orchestral sounds and those of harps, choirs, organs and pianos to '3rd + 5th = 80-100%'.
Pianos without other instruments alternately to 'natural sevenths'.
Synthesizer sounds to '3rd + 5th = 0%', according to equal temperament.
Mixes of orchestral, harps, piano and choirs in common with synthesizer sounds to '3rd + 5th' by a value between 40% and 80%. In such a case test the best setting.
As soon as a Hermode Tuning mode is selected, the resulting pitch for each note is displayed as a bar above the respective key of the on-scree keyboard. Sounding notes are represented by blue bars, silent notes by red bars.
Save modified Multis as follows:
Tap on the actual Multi name (1). A pop-up window opens in which all available Combis are listed. Tap on 'Save' (2). The pop up window changes its look.
If you want to keep the previous name, tap 'Save' (4) immediately, otherwise enter a new name (3) and then tap on 'Save' (4). Now the old or the new edited Multi name will be displayed (5).
If you want to delete a Multi: Slide it over the left edge (6). But please note: As soon as a Multi is placed in a Life Mode page (see section 'Life Mode' below), you can remove it from the list as shown above, but it will still be included in the Life Mode page.
At the bottom left is shown a cube symbol, representing a random generator.
A tap on this symbol will create a random Multi.
As the complete XinematiX library comprises approximately 1,000 sounds you could create
theoretically with this toy about 1,000,000,000 different Multis.
A nice toy, on the other hand a large part will not produce a convincing result.
Therefore it is much more productive to edit a Multi according to your personal taste.
The Life Mode is a tool that allows you to quickly switch between different Multis. This can be particularly advantageous in a musical performance.
A tap on this symbol opens the Life Mode pages.
The Life Mode comprises 8 pages, each with space for 16 Multi entries. So there is room for a total of 128 Multis. This picture shows 2 pages of the Life Mode, on the left a blank page, on the right a completely filled in page. In the latter, the sound 'mallets' is activated.
To add a Multi to the Life Mode, select it in the list of Multis so that its name is entered at the bottom centre.
Now press the Life Mode symbol for some seconds, until a pop-up window opens.
In this window you will find the name of the selected Multi already entered in the first line. Tapping on the second line opens a list contenting the 128 fields of the Life Mode. The already occupied fields are shown in color, the unoccupied ones appear in grey. In this example you select the actual unoccupied 112 field by tapping on it.
Tapping on the second line opens a color palette in which you tap on the desired color of the new entry. In this case you select a purple red.
The selected color is not shown in this pop up window, but it will be adopted on the Life Mode page. Confirm by tapping on 'Save'.
Now you will find your Multi entered in the Life Mode page.
If you select as storage location in the Life Mode pages an already occupied field, the previous entry will be overwritten without enquiry.
Tap on the provided field for about two seconds and then remove your finger. The Life Mode color palette opens. Select the desired color by tapping on it.
Close the Life Mode pages by tapping on the 'XinematiX' logo right on the top.
There exist three ways to do this, as described below.
Tap the name of the currently called Multi at the bottom centre.(1). A list of all actual edited Multis opens. Scroll up and down this list until you find the desired Multi (2). Tap on the desired Multi for opening it (3). Close the list by tapping on "Done" (4).
Tap on the Life Mode page icon. The Life Mode pages opens. Select the relevant page using the letters A to H (1) and then the desired Multi within this page (2).
You can call up a Multi as usual by a program change command from your keyboard or other MIDI device. The program number corresponds to that in the Life Mode list.
No matter if you call a new multi via the list on the main page, via the Life Mode pages or via program change messages: The the actual setting of Layer or Crossfade Mode as well as the position of the circular slider are not stored in the Multis and therefore remain in the position of the last Multi played. Correct this settings if necessary
Back to: Edit a new Multi
This pop up window presents some useful tools and MIDI settings.
Background audio: Is by default set to "Off". Setting it to "On" allows you to take background audio from other apps.
Write app store review: We would appreciate positive reviews. However, if you make critical comments, we will take them as an opportunity for improvement.
Sample Store: This is already described at
Expanding the XinematiX sample libray
Bluetooth MIDI: Shows your Bluetooth MIDI Devices if present.
MIDI Sources: Is set by default to 'Network Session 1' and supports all incoming MIDI messages of all MIDI Devices.
MIDI Input: Is set in default to 'OMNI' (all) MIDI Channels. If you want to control XinematiX for certain reasons via one of the MIDI channels 1 - 16 , set the checkmark to the intended MIDI channel and confirm with 'Done'.
MPE Pitchbend: Is set in default to '48'. We recommend maintaining this value.
MIDI Program change: This is set by default to 'On' and thus supports program changes of your MIDI device.
Keyboard velocity: Is set by default to 'On' and thus supports the velocity messages of your MIDI device.
This pop up window can be opened by pressing the blue arrow pointing upwards.
Here the following settings can be made:
Key quantize: These setting affects only the virtual keyboard. In default it is set to "On". If you set it to "Off" and you swipe the keys horizontally, the tones glide into each other.
Key hold: Is set in default to "Off". If you set it to "ON", a struck note will sound until you strike the relevant key again.
Key velocity: Is set in default to "On" and thus supports the incoming velocity messages by different loudnesses. Setting it to "Off" will perform all notes with one and the same loudness.
Size: Shows the number of displayed octaves of the virtual keyboard. The default is 3 octaves, by setting the hook to another number, this will be immediately changed.
Scale: Is set in default to "Chromatic" with all 12 keys of the octave activated. By switching to a different scale, only a reduced selection of notes necessary for this scale will sound. For example: With a "Pentatonic Major" Scale you can improvise without much thought historical monophonic Chinese or Japanese five tone music. A bit more sophisticated is "Blues Major", for example.
With "Base note" set the basic note for the reduced scale.
Please don't forget a reset to "Chromatic" at the end of your experiments with reduced scales.
Back to: Launching the App
With the Osmose synth it is possible to mix or blend the actively sounds of XinematiX individually for each note played.
Prepare Osmose as follows:
Set the MIDI mode in "config menu" to "mpe preset".
Connect Osmose with XinematiX.
Prepare XinematiX with the following steps:
1. Tap on the Settings icon in the upper right corner.
2. A pop up window opens. Tap on 'MIDI input'.
3. In the new opened pop up window tap on 'MPE Master 1'. Then tap on 'MIDI Sources'. If you find two entries of 'Osmosis port 1', remove one of them because otherwise every note will be played twice.
4. Switch to the rainbow image and tap on it for a few seconds. A new pop up window 'Hardware Control' opens.
5. Tap on 'MIDI Controller'.
6. In the new pop-up window scroll down to the entry '74 - MPE Timbre (Bright)'. Tap on it and close with 'Done'.
That's it. Now you should be able to control and variate the blending of the sounds of the actual opened Multi by different pressing for each note.
Back to: Edit a new Multi